Joe Pass - Chord Encounters for Guitar - Book 1

CHORD €NCOUNT€RS for GuitarBookf .

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II{TRODUCTIO}I

This book is my approach to the basic blues pattern. It includes HalfStep and II minor 7 V Dominant 7 movements, Diminished and V chordsubstitutions, and varied ways of comping. It also includes some extensionson the chords, which will improve your overall sound and approach to play-ing blues changes.

This book will be one of a series of books introducing the many com-mon chord patterns that exist in most standard pieces of music. Accom-panying this will be a series of melodies and improvised lines to thesepatterns so you can see how melodic lines are built and fit the various chordpatterns.

I chose the blues to begin with because it is a very basic pattern that weall knoq so it will be easy to see the substitutions as they appear. Once youget the idea of how the patterns and substitutions work, you can then usethese ideas in other songs. With the tape you can hear how the progressionsfit together. I hope to simplify and explain how harmonies and chord formswork on the guitar. This should help you understand substitutions and howthey work.

You should take each substitution and practice it in every key until itbecomes automatic in your fingering and thought process. Then go to thenext substitution. It is important to be able to play and move these chordforms and their ideasfreely in every key.

Because of certain chord fingerings, there are unwanted notes that willsound if you use a pick. I play all examples in this book finger style. Thisenables you to play only the notes you want. If you use a pick you may haveto refinger some chords.

I would like to thank my good friend and fellow guitarist Denny Hard-wick for spending many hours formulating the material in this book. Hishelp is deeply appreciated and I'm looking forward to working with him onout next project. r34r

CREDITS: Sound Editor: Dcnny Ha¡dwickTochnical Consultanu Mark HillPhotos taken by Norman Jambsonat Stanford Sicrra Carnp,Fallen Lcaf Lakc, Cdifornia.

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TABLE OF CONTENTS

Drrrt'Clorú Forms I

b( U lcr Blrcs in F And Extensions 2

f rrc{t¡¡ ?ü Chords . . . 3

TLc Trn Around 4

T r r r . { r o ¡ n d C h o r d s l n F . . . . . . . 5

Dorirut Substitution - The Standard M II V Chord Progression 6

Hdf Stcp Substitution 8

S i l k i n g B ¡ s s l i n e T u r n A r o u n d . . . . . . 9

fXn inbhedSubs t i tu t ion . . .10

Rcv ic r ' . . l l

t ' C h o r d S u b s t i t u t i o n . . . . . 1 3

Il MinorT V DominantT substitution . . .14

II MinorT V DominantT Progressions With New Resolutions . . . 16

II ll inorr bs y DominantT bq Progression . . . .l7

U s c O f I I M i n o r T V T F o r H a r m o n i c l n t e r e s t . . . . . . . 1 8

II MinorT V7 And Voicings . . 19

t b i c i n g E x a m p l e s . . . . . . . . 2 0

II Minor7 v7 And Hatf Step t h sl Substirution . . . . .22Review . .24

The One Grip Blues . .25

Comp ingWi th AP ianoAndBass . . . . . 262 And 3 Note Chords . . . . . .27pssVToGrab4No teCho rds . . . . : . . . . 28

Traditional Rhythm And The Charleston Beat (Layed Back) . . .29

Grooving On The Blues . . . 30Vsriations On The Charleston Beat . . . . 3lFind Review And Conclusion . . .32

Copyright O 1979 by Charles Hansen tI of California, Inc., West Los Angeles, Calif. 90025International Copyright Secured Made in U.S.A. Alt Rights Reserved

aaaaI rx)ttrNANT 7th cHoRD FORITISI- h F-. t :> tqr of F, coasisrs of rhrec chord changes. Th€y are Ft, B b 7, and c7. Thc blues¡ .¡ E! rrr átfctd Fncrns. We arc, in this book, working from the familiar 12 bar blucs: sr b* ¡:t tL bñic do&in¡nt ?th chord forms that are used in the first cxamplc of the Basict c -b .F-orhqrp . tc .

D t> F . l;', Dd C? chord forms a¡e derived from üe F scale. That is; F is üe I chord, Sb is Oet fr #. d C b r.bc V cüord. See the diagran directly below.ItaIDIIaI7 - - .

9:t3

? 3F++i+i :F BbTisrcferedro¡srhervchofd.

l IIlstI

f4t5D

tx

n,t1lja 2t-

F7 ¡s rrcferred to as the I chord.

I

2

3

4

5)

)

)

)Note: X = MutedString;O: OpenString.

C7 is referred to as the V chold.

1 I

F7

t ¡

Bb?

BASICT2 BAR BLTIES IN F

2 IV

Bb?

óIV

(Bb?)c7

3 I

F13

7 I

r.13

s IV

c7

EI

c7

EXTENSIONSBy adding extensions to these basic 7th chords, you can immediately change the color of your

playing. Some extensions, including 9th's, raised 9th's A#\ l3th's and suspensions, are illustrated onthe opposite page. Below is an example of the l}bar blues using these chords.

2

Bbe

r I

Bbe

1 I

F13

s IV

c?#e

6tv

(Bhe)c?ile

8 l

c7

)

)

t)

EXTL\DED 7rh CTTORDS (BrIrES rN F)

t

2

3

4

5

4

THETTJRNAROUND

The last two measures of the blues is considered the turn around. The basic turn around as seen inthe preceding two examples is:

(F13)FT

(c?*e)c?

To add harmonic interest to this basic turn around, G7 preceeds C7. (To play G?, simply move theF7 chord form up two frets)

To add more h'a¡monic interest, D7 would preceed G1 (To play D7, simply moye üe C7 chordform up two fretsl

THE STA¡TI'ARI' I YI II Y TI.JRN AROUND

G7

Now working from the standard I, VI, II, V Tt¡rn Around, extensions of these chords are usedfor color. A new form for G7 seen at the top of the opposite page, is used in this turn around.

(Csus)

F7

Csuspendedr13 ozüg

TrrRN AROUND CHORDS (rN r)

C(srr)

DONfiNANT SI ]BSTITUTIONTHE STANDARD I, YI, II, V CHORD PROGRESSION

Now we have seen how the standard I, VI, II, V chords can be substituted in the I, V turn around.The same principle is used in the preceding F7 and C7 chords.

Below is the l2bar blues - the upper line is the basic chord pattern. The lowerline illustrateszubstitutions and extensions. The subsütutions in bars 7 thru l0 use the same principle as is used inbars ll and 12. See opposite page.

BASIC PAITERN

F7

BASIC PAITERN

BASICPATTERN

Bb? F7 F7

IV

, r I

NEWPAITERN

F13A

2 IV

Bbe

3 I 4 I

F13 F13

s IV 6 IV 8 I

D7ile

ev

NE\WPATTERN

G7

u I l 2V

F13 Uüg c? C?ilg

'a:.,q...W

7

Oo thc fcceding page is what is considerd to be the "Standard Changes" a Jatr. player wouldrt la tbc Hu¡. Tb.is is the "New Patternl'The "Basic Pattern" would be used in Rock, Folk, ordtr dndcr forms of music.

Tbc "!icr Pattern" will now be referred to as "Standard Changesl' and will be used as a basisfc dl n¡h¡itutions to come.

In measures 7 to 10, the Basic chords are 8 beats apiece, using the I, and V chords.

BASIC

F7 C7 c7HI

vlov

The Standard Changes are 4 beats apiece,chords.

when used as substitution chords for the I, and V

STANDARD

F? D7 G7 c7

8VI l ov

The exact principle is used in the turn'around chords. The number of beats per chord is cut inhalf; F? for 4 beats, and C7 for 4 beats.

?

l a

7

: HALF STF,P SI]BSTITUTIONThe half step substitution preceeds each new measure by starting Yz step above or belorry the

chord in the new measur€. When proceeding from tbe Vz step substin¡tion to the next chord it is bestto keep the same voicing, or chord form, in your movement.

The following is an extreme example of half step substitr¡üon. Let your ears guide you as to theproper time and place for this substitution. New chords are ilh¡strated below.

F13 B9 Bbe F$fB F1s 813 Fl3

2 IV

Bbe F$13

3 I

Fl3

4 I

ü#g G$7

sIV

G?

Et3

B9

6 IV

C$7ü9 c?*e F*13

7 I

F13

Dü?il9

EVI

Cil?üe c?ile

I

2

3

4

5

t

2

3

4

5

7

WALKII{G BASS LIh{E TUR¡I AROUhIDHere is a good three note chord voicing as used in the turn around, taking advantage of tt¡: new

haií srep substitution. Notice the "walking bass line" this substitution provides.

I J Dt7 a7

VI

G$7 G? c*7 C7 F$7

Usc üis form, or voicing for F7, F#7, G7, and G#7.

Use this form, or voicing for C7, C#7 , D7, and D#7.

Now, by adding extensions, you can change the color of the "walking bass line" turn around.

orf,g Gl3 Db7ilg c?#e

Vul 2

t

2

3

4

5

t

2

3

4

5

Vua

1L8

F13 Eb7$9

VI

Ab13

t 2

F$r3

DIIUINISHED SI ]BSTITUTION

The Bo (B diminished) chord (as shown below) connects the IV chorci Gb ) with the I chord (FI

The Bo is used either on the last, or next to last beat of the IV chord before it goes to the I chord.

Gl3 Csus

t

2

3

4

5

I

7

REVIEW

So fer tbcre beve bcco ñve ways to change the Basic I, IV V, blues pattern.

t. AatS Elc¡sionsa- 9th'sb. Raiscd 9th's A#e)c. l3th'sd. Suspended chords

2. Altering the turn arounda. r7 I C;to F7 / cl C?; to F7 D7 / G7 C7b. Adding extensions to the altered turn around

3. Dominant Substituüona. f , t r7 / e / C;toF7 /D7 / c l / c7

4. H¡lf Step Substitutiona. Substituting Vz step above or below the chord of each new measure

5. Diminished Substitutiona. Replacing the last I or 2 beats of the IV chord (Bb) with Bo as a

connecting chord before returning to the I chord (FI

Practice each of the above substitutions in all keys until you feel comfortable with it. Then inter-mix all of the substitutions, taking advantage of every extension possible. Let your ears decide which¿ue acceptable.

Below is an example of inter-mixing of substitutions, as played by Joe. Some chords in thisexample have not yet been covered.

Fl3

F13 813 Bb13 813 Bb13 BO F/c ebz#s

nrlf;g cf rs

rf, rs

c*mzbs omtbs

c? De#5 c$e c?bb rü rg

c# ts c13 cüg ce F{13

WCONTINTJED

Below are some examples of adding different substitutions. We now leave the key of F, *l ,r.going to usc the key of C. This is so you can get an idea of how substituiions are used in other keys.

Again, these examples contain some chords not yet illustrated.

DbG,b(addmaiT) c6rb A?#bbe E b13 üt +.hJIl c13

Gl3sus nbZf,g cl1 ob$firr cmaje

IaaaaaaaaaaIaatttIttttttttIItttIItttIt,

DtDI)

tt

r3

Y CHORD SUBSTITUTIOI\

a- : r o - - r - ! i 3 a l J tu1 íd . o ra lVchord fo r l o r2measures , youcansubs t i tu te theV l to r¿o f-r*' ;¡¡r-f_-E :-._1¿¡ lu.í I Or ] bcats.

*¡:l -t e: cr-r-nnple oi substituting the V of the I chord for 2 beats.

t l 3 Bbe F13 F13

Tlc nert erample shows the V of the IV chord for I beat. This also uses an extension of thesr*:iution chord. Again, try to extend your chords whenever possible.

F7$5$e

F7i5i9I

2

3

4

5

e

II MINONÍ, V DOMINANTT SI]BSTITUTIONThp II Mino/ V DominantT progression is usually referred to as a II V progression. The II rniil

and V7 chords are derived from scale degrees of a given major scale. That is, C7 is the V chord andGmiil is the II chord in the F scale.

cv

You may substitute the II chord along with the V chord. Here is an earlier example, using the V' chord substitution, then adding the IIminT chord just before the V chord. Then the V chord resolvesback to the I chord.

This II V is in the key of F. Notice the Ce is just an extensioh of the C7 chord.

uEvtl

DVI

BbIV

AUI

!ü¡l cúridcr rhe tV chord (B b I Here is the Bb scale. Notice the II and V chords.

DDODDDD

AVII

GVI

FV

EbIV

Dru

cn

Bbt

BbI

!b- üc Y cñord is F7, and the II chord is Cmin7. As before,H¡l tL Y cüord- Thc¡ üe V resolves to the I.

the IIminT chord is placed just

TEMPORARY IFsus F7 Bbe

L KeY of BbJTo undcrsta¡rd the use of this substitution, you must realize the I chord TEMPORARILY

bocs Bt . This is called a key center. The chords preceding the temporary I chord are labeled inrd¡rioo to üat I chord, rather than to the original key.

This subsütution should be handled with care. Again, let your ears be the final judge as tortahcr rbe substitution is proper.

F(sus)

16

II MINONÍ Y DOIUII\ANT7 PROGRESSIONSWITH NEW RESOLUTIONS

Sometimes, when a new key center seems to be established, the II V progression in the new keydoes not resolve to the temporary I chord. In the eÍample below, the chords preceding the Bb e in bar2 seem to be establishing the temporary key of E. (F#min1 Be is in the key of E} But instead of resolv-ing to E, Be moves a Vz step to gb e.

F$m7 89 FfmT

-Key of EJ

The II V progression may resolÉ directly into another II V as in the example below.

This is a very popular blues progression. Study it and transpose it into every key. This will helpyou understand how II V progressions work.

Key of G

c9 Am7 D9 Gm7 C9-

7 t t z , J

l 0v v V

Gm7

u r2

tr ÜflNoil bt v rloh'flNAhli'T b'PR0GRESSION

tn sooc czreg5 a II V that progress€s ro another II V can be made into a tlmiil bt *d yz be,tthen

r3¡ohr3 ro rbc ncrt chord. Thesc chords may be used in the turn around.

Am7b6 D7b9 Gm? c9

ntrKey

VofG

IVI Key of

VF,

Am735 t

2

3

4

5

t

2

3

4

5

r8

2rv

Bbe

I

Bbe

The first logical place for a IIminT V7 is in bar 4 as it progresses to B b .

Bbe

r I

Cm7

IV

Bbe

I

Bbe

The next logical place for a II V would preceed the II V in bar 4.

TEMPORARY I chord for IImiil v7 (Dminz 613¡ is Cmiil.

Dm7 G13

IV

Bbe

3 t Keyo f C

Bbe

USE OF IIMiNT V FOR HAR}IONIC INTEREST

Consider the first 6 bars of the blues.

F13 l

r I

F13

I Keyo f Bb '

Remember, to find the II V progression, you have to make the chord you are going to resolve tothe TEMPORARY I chord. In the last example Cmid(bar 4I and Bb e Oar 5) are the temporary I

Key of Bb

tr MINOil b t V DOIWNANf b' AND YOIüNGS

Fc üffcrcnr color, a II V preceding bar 3 will use a IIminT bs yz be ptogrtssion- These are gtod

v(iintr h¡ rbcn placcd ncxt to üe DminT they don't sound proper. See the next page for voicings.

Fl3 Em7b5 A7b9 D'nt7 cl3

Cm? F13 BbeBbe

Em7'?5 5

6

7

8

I

4

5

6

7

¡l4t

20

VOIüNGEXAMPLES

The voicings on this page have the top note on the first string, in a descending -*n3. Th"previous page had the top note jumping from the flrrst string to the second string, therefore the

voicings.did not sound right.I

A?be Dm9 G7*5be

I

5097#G

oaaaaaaaaaaaaaarDIaatoaaaooaaoIo¡

IDID:t:D,

)

)

)

)

) :

) :

)

Tlc -¡: II V rould s-orrlc in bar 6. This would connect the first and last 6 bars of the blues'r¡:í-: I- '-\'r J¡.s.. ralher than resolving to a temporary I, the II V progression resolves down a VzÉ+ - r.(:s ll \ ¡o¡rcssion.

Tbc complete l}bar blues now sounds like this, using II V substitutions.

Em? b5 A? be Dmg czfisbg Cm9

Gm7 c?f,e cTbe Am? orfg cTbe

22 :1:q:rl:4¡fl¡tl

:#r1

:q¡il3il3-l

:q3rl3fl

:É

rt4e-l4q44444j7j lJ-1n:13l3l

NVANDHALFSTEP( b 5) SUBSTITUTIOI{

Consider the first 2 bars.

Now adding the half step substitution, E be b5 resolves down Vz step to Dmine. This is also a bS

substitution. (E b is the b S of e)

czil s bg

i

EcgCs4

5

ó

7

I

Em?b5

Em? b5

The complete l2 bar blues using the II V and half step ( b5) substitution now sdunds like this.

Em?bb A?be Eb9b5 Drie c?{sbg Dbgb5 cmg F?*sbg BgbS

Bbm?

c?#e

Notice the Half step turn around.

The addition of one more II V used as a half step substitution, should make you aware of most ofthe uses of II V substitutions, as used in the blues. Notice the II V's in bars 6 thru 9 resolve down inhalf steps.

Be sure to change keys, and practice all extensions of chords, while being conscious of connectingthe top note as closely as possible for good voice movement.

Em?bb A?be nbsbs Dme F?# s bg sg bsc?ilsbg obgbs

24

REYIEW'Since page ll, we have added five new ways to alter the blues. Also included are tips origooo

voicings.l. Y Chord Substitution

a. Substitution the V chord for one or two beats.2. II Minof V Domin¡nt7 Substitution

a. Using the II Mino/ and V Dominant? and resolving to the temporary I chord.3. II V's ¡nd New Resolutions

a. Using the II V and resolving down a Vz stepb. Using the II V and resolving to another II V.

4. II Mino/ bs yz bt subrtitutiona. Replacing a II v with II Mino/ b s yz b,

", in the turn around.

5. lI V and Hatf Srep t bSl Subsriruriona. Using a II MinT bs yz bt artd for the last beat of yz be use a b5 substitution.

After reviewing all substitutions, take the examples below and study them in the original key.Then change keys using the same alterations.

Here are two of Joe's versions of the blues.

Fe rfig Ft3 B1s Bbls Bbl F?#e C?f,s B?

3

Flc

5

G? cls r#zfig rzfg nb ryfig eb Db Csus rf zbsobz*s

5

enbs r,Tbe ezf sfig Ebe ulügf s Abl

Flc

l

'rzf sf g Bbe c?#e cilz$s oz#g nbz#g E?üe rz*g sz sbg E?

6

Gl3

Jr

1ú

¡Í

¡.

¡¡

rzf sfig ¡^bzbs

rf ts F13

sz#s$g

F13sus

c13 rf,g

obg# s

7a-

aaaa,.--_

-t- ----\.

- -D-

f--t I- I ^ Y I- - t - J tv

rDrt¡DaatataElm>-/

THE OI{EGRIPBLUESCompare rhe Frngerings of F7#e and É13.

Tbc only difference is in the bass note. The rest of the chord remains the same. As in the follow-i c¡'mple, the blues may be played using the half step substitution and these "One Grip" chordfúDs-

Frtg 813 Bb13 F?#e c13 F?#e 813

F?#e

aaaIaaottaaIoI

I

Gl3 Db13

l 0

c13 rfzilg

u

F?#e r#z*g

t 2

c?#e

26

COMPING - WITH A PIANO AND BASS

Comping is a word used to describe accompanying, or playing chords while another instrumentor voice has the melody.

When first confronted with accompanyrng a pianist, whether he is playing the melody, or soloing,much care must be taken to not get in his way. You may be playing too much rhythmically orharmonically.

The piano player won't mind if you layout (not play) right at first. This will give you time tolisten, and take in the following considerations.

1. LISTEN to the harmonic structure the pianist uses. Below are some possibilities toconsider.

a. Does he use raised 9th (7#) sounds?b. Does he use a lot of half step movement?c. Does he use l3th sounds?d. Does he use augmented (7#5) sounds?e. Does he use dominant cycles (D7 / G7 /C7 etc.)?f. Does he use II V substitutions?

Consider the fact that he has 88 keys and l0 fingers. After you kno% more or less,what his harmonic design is, then build your chord voicings on top of his, using thetop 3 or 4 strings. You can also play 2 and 3 note chords on the inside strings. Fullchords, with the bass note on the 6th string, often sound muddy. This is why, whencomping with a piano and bass, the top strings and voicings are best.

Rhythm should be your next consideration. Most pianists are used to being thedominant player, and would prefer that you play a simple rhythmic figure or play

sparingly. This is a good practice; you have more time to listen to what everyoneelse is doing. Then if you need to come on strong, you have the room.

4. Dynamics (how loud you play), are ALWAYS a concern. This can either make orbreak the soloist. If you start out nice and eas¡ and build as the momentum builds,you can help, and actually be part of the climax of his solo.

In review, the most important thing to do is LISTEN! Take the time to do so. The music willdictate what harmonies and rhythms you should play.

2.

3.

TWO AI\D THREE NOTE CHORDSWbcn compint, it is often a good idea to use fewer notes in your chords. It is even possibb to

o(mp riü 6¡c Dotc. But to get the sound of the changing chords, you need two notes, the 3rd, and 7th

of c -r¡ cüord. Noticc üat in the two and three note chord examples below, you need only move Vz

¡¡rp ro ch.nSc cüords. The 3, and 7 above each diagram indicate which are the 3rd and 7th.

x

tIxxxxxxxx

Now take the following raised 9th

; \ f f're) ( Bpr3)-/ \---¿

x - xx x

xxxxxxx

F? F?

F7

F?

I

Bb?

F7 ü7 G7 C7

and I

. l

F7fre

FFFFP,b?

2

Bb?

ó

7

I

I

ffi#r¡

#F-\rT- \L' 4 ,-t v

tr¡r

XX

2a11q.1.1.1¡1¡1.1.1f-a

EASY TO GRAB 4 I\OTE CHORDSIt is always important when comping, to play easy to grab chord forms. Should you hit a note

that clashes in your chord, it will be easy to change.Here are some easy to grab 4 note chord forms. Incorporate these chords into your playing right

away- They are good comping, as well as good melody chords.

5

ó

5

ó

7

8

ct3

I3{sdCa}bB

A \\'ORD ON TRADITIONALRHYTHM

\A ere avai lable, the guitarist in big bands had to have as much volume asnecessarl ' for the guitar to use the bottom str ings in their chord voicings so

be heard over the horns, str ings, and the rest of the rhythm section.

l - : . : - . \ : t l : :g sr¡ ' le $ as " four to the baC' or one strum to each beat. This is how the tradit ional.: . . . : ' : . . : i ; ing uas developed. For good exposure to this style, l isten to Django Reinhart, Charl ie( - . - . : . . : : : : . a i : d F r e d d i e G r e e n .

THE CHARTESTOI\ BEAT (I-AYED BACK)

The Charleston beat is useful in helping develop a sense of rhythm. It is also good for settling

dou'n the rh¡hm section, if there is a tendency for people to rush, or if the beat becomes unsteady.

This beat will 9 out of 10 times get things into a groove.

Try to feel this groove. The first beat is longer than an eighth note, but not quite a quarter note.

The second beat is not played exactly on the up-beat; it is layed back, or delayed.

ata

Bbe

30

GROOYING ON THE BLIIES

Once you have "the groovef ' play the blues using this beat. At first use the most basic chords, orones you can grab easily, because your only concern at this point should be to find the rh¡hmicgroove. Remember, by using extensions you may change the color of your playing.

Note: Simile means continue the same rhythm.

It is beyond the scope of this book to cover all the possibilities in rhythmic patterns. The follow-ing page has some examples made from basic "grooves." You should learn them and use them as apoint of departure, or as a basis for rhythmic improvisation.

If you get only one pattern that you can feel and groove on, stay with it. Finding the groovedepends primarily on how much you are listening. Remember, Listen!

VARIAIIONS OI'{ THE CHARLESTON BEAT

Bdon are some examples of variations on the Charleston beat. Study the rhythms. Then pickJust

om bar üar -vou like, and pracrice it through the blues until you have it. Then pick anottler and

cr-eat¡¡all¡- add ücm together.

F9 Bb13 F9 ri l tr F13 813

t

Bbl3 813 Bbe go Flc ebz#s A?fi5 Db ulilg c?

G? Dbg Csus C11 Ff maj? Fo Eb ry#g Ab c? Db13 C13 Fi l13 F13

F13 r#g#S F13 813 Bbl3 E F?fie Fe#s Fe rüg*s

B.7b5

2

Bb? 813(add9)

3

Bb13 6oBb13 Ab13 F9

E9 Ebg E9 Dbe De Dbe Dg tk$? c13 obgü s c13

rilzF?A

End of recording

32

FINALREVIEW

Here is a summary of the various ways to change the basic I, IV V blues pattern.

l. Page #2; Adding extensions.2. Page #4; Altering the turn around.3. Page #6; Dominant cycle substitution.4. Page #8; Half step substitution.5. Page #10; Diminished substitution.6. Page #13; V chord substitution.7. Page #14; II minorT V dominantT substitution.8. Page #17;IlminorT bi V dotninantT be substitution.9. Page #22; IlminorT bt V do*inantT bs and half step ( b 5) substitution.

Here is a summary of things to consider when comping. (Pages 26 thru 3l).

l. Listen!2. Find the harmonic design.3. Voice your chords on top of the piano.4. Always be aware of dynamics.5. Use easy to grab 2, 3 , and 4 note chord voicings.6. Use rh¡hmic figures, such as the Tiaditional, or the Charleston beats.

CONCLUSION

Take the above ways to alter the blues, and let your ears guide you as to which of the substitutionsand rhythms to use. Sometimes it is best to use the most basic approach. This depends on thesituation, the atmosphere, and the players.

Experience is undoubtedly the best teacher you will find. Bear in mind that all good players hadto work hard to get where they are.

I hope this book helps you understand some of the concepts and harmonic approaches to playingthe guitar.

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Glossary7'¿ :¿''--, :t .'irs zlosary are in the order in which they appear in the furt.

\cr - { ;:::: i;r r¡hich a composition is written or played. The first note of a series of: -':c: íorning an¡' given major or minor scale. Page I

( Lord Chenges or Pattern - Refers to a series of chords in a particular order. Page I(Lord Form or Voicing - The way in which the notes or voices are arranged and

:: : : rbured in a chord. Page II ('bord - Be ing the first chord of a major scale. Page Il\ Cbord - Being rhe fourth chord of a major scale. Page I\ ('bord - Being the fifth chord of a major scale. Page Il-rtctsions - Adding higher scale degrees to a basic chord. Example: making a 7th

-'iord into a 9th, l lth or 13th chord. Page 2('of or - The sound of a chord or chord pattern . Page 2Tr¡-n Around - The last two bars (l I and 12 of the blues) before returning to the begin-

ning of the pattern. Page 4H¡rmonic Interest - That which makes the chords more pleasing or interesting. Page 4sr¡nd¡rd Changes - The common way to play a particular chord pattern. Page 6rrrlking Bass Line - Movement of the bass note of a chord. Page 9II Vinor 7 v Dominant 7 - Being the second and fifth chords of a major scale. Page 14Temporarf'I - Temporarily making any chord a I chord. Page 15f,e¡ Ce nter - When a chord progression temporarily changes keys. Page 15Tnnspose - To change keys. Poge 16

tl Vinor 'r bs V Dominant 7 bg - Being the altered second

scale. Page I7

Fl¡rrened Fifth ( bs) - The fifth degree of a major scalechord; thus, the chord becomes 'alteredi Page 22

Comping - Accompanying or playing chords while another instrument or voice has themelody. Page 26 and 29

Hrrmonic Design - The use of particular chords in a particular order. Page 26R.h¡lbmic Figure - A rhythmic pattern or motif . Page 26

h nemics - Varnng and contrasting degrees of intensity or loudness. Page 26Groove - A feel for a rhythmic pattern. Page 29

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and fifth chords of a major

being lowered Vz step in a